翻译原作的惫指模式之中

      见自彼月之下，至于目前一道光芒，浇漾闪烁，(谛而察之)，皆细浪沦漪，(受月光映发而为此也)。(排徊数武)，是光(景)者乃若随人。颇有明理士夫，谓是光(景)为实有物.故能相随，且亦有时以此(自)讶。(不悟是光景者)，从人而有，使无见者，则亦无光，更无光(景).与人相逐。盖全湖水面，受月映发，一切平等，(特人目与水对待不同，明暗遂别。不得以所未见.即指为无)。是故虽所见者为一道光芒，他所不尔。又人目易位，前之暗者，乃今更明。然此种种，无非(妄见)。

    以官其实.则由人目与月作二线入水翻译原作惫指模式，(成等角者，皆当见光。其不等者).则全成暗。(惟人之察群事也亦然，往往以见所及者为有，以所不及者为无。执见否以定有无，则其思之所不胶者众矣)。

    在翻译的高级阶段，翻译原作惫指模式为做好翻译改写，建议译者细心体会德国文论家本杰明(W. Benjamin, 1892-1940)所写的一段有关改写的议论:

    Of necessity, therefore, the demand for literalness,whose justification is obvious, whose legitimate ground isquite obscure, must be understood in a more meaningfulcontext. Fragments of a vessel which are to be gluedtogether must match one another in the smallest details,although they need not be like one another. In the sameway a translation, instead of resembling the meaning of theoriginal, must lovingly and in detail incorporate theoriginal's mode of signification, thus making both theoriginal and the translation recognizable as fragments of agreater language, just as fragments are part of a vessel. Forthis very reason translation must in large measure refrainfrom wanting to communicate something, from renderingthe sense, and in this the original is important to it onlyinsofar as it has already relieved the translator and histranslation of the effort of assembling and expressing whatis to be conveyed

      因此，有必要在一种更有惫义的倩况中来体认直译的诉求，因为虽然直译的必要性无可非议，但个中的合法根据.人们对之却并不了然。一只瓶堆被打碎以后可以新粘合。碎片虽然小至:星.形状各异，但却必须彼此吻合。

      翻译也一样翻译原作惫指模式。译文虽然不必仿造原作意义但译者仍应呵护备至地将军星细碎整合在原作的惫指模式之中，从而便原作与译作都可以视为某种更为伟大的语言碎片，恰如瓶峨的碎片一样。

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